dance notes
Form Object
Produced by: Madmusik
46 Devonshire Road
Bath, BA2 6UD. +44 (0)1225 313082
46 Devonshire Road
Bath, BA2 6UD. +44 (0)1225 313082
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3:05; brisk 4/4; trotting, meandering, whimsical; piano, strings, horn, bassoon, percussion
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Composer's Blog
Here’s an interesting little idea that grew into something fairly evolved but still quite minimal in its structure and approach (if that’s not all one huge contradiction). I liked the two contrasting motifs and the feeling of pushing forward, then breathing out. It’s something that would probably appeal to dancers, as there is a very clear rhythmic structure, coupled with contrast and space.
The first things to be added to the piano phrase in this instance were the triangle and tambourine, which I heard in my head right from the outset. I like the persistence of the triangle carrying right the way through and the fact that the tambourine is slightly more improvised, reflecting the loose nature of the second half of each phrase. Next came the underlying orchestral ‘pad’ which helps to emphasise the three staccato beats and fleshes out the harmony of the second half of the phrase, adding some movement where the piano part extends beyond simple harmony.
The solo horn then has a lot of scope to move around quite freely, again echoing literally the first phrase part and meandering during the second. To this I added a bassoon, by way of counterpoint and then finally the melodic strings, which also explore the extended harmony.
Download Track
Subscribe
Composer's Blog
Here’s an interesting little idea that grew into something fairly evolved but still quite minimal in its structure and approach (if that’s not all one huge contradiction). I liked the two contrasting motifs and the feeling of pushing forward, then breathing out. It’s something that would probably appeal to dancers, as there is a very clear rhythmic structure, coupled with contrast and space.
The first things to be added to the piano phrase in this instance were the triangle and tambourine, which I heard in my head right from the outset. I like the persistence of the triangle carrying right the way through and the fact that the tambourine is slightly more improvised, reflecting the loose nature of the second half of each phrase. Next came the underlying orchestral ‘pad’ which helps to emphasise the three staccato beats and fleshes out the harmony of the second half of the phrase, adding some movement where the piano part extends beyond simple harmony.
The solo horn then has a lot of scope to move around quite freely, again echoing literally the first phrase part and meandering during the second. To this I added a bassoon, by way of counterpoint and then finally the melodic strings, which also explore the extended harmony.